{"id":3380,"date":"2023-08-24T17:19:45","date_gmt":"2023-08-24T15:19:45","guid":{"rendered":"https:\/\/www.mapamundimusica.com\/?p=3380"},"modified":"2023-08-24T17:40:01","modified_gmt":"2023-08-24T15:40:01","slug":"august-23-talk-with-imed-alibi-from-atelier-des-artistes-en-exil-european-folk-day-news-open-calls-62","status":"publish","type":"post","link":"https:\/\/www.mapamundimusica.com\/en\/newsletter\/august-23-talk-with-imed-alibi-from-atelier-des-artistes-en-exil-european-folk-day-news-open-calls-62\/","title":{"rendered":"August 23. Talk with Imed Alibi from Atelier des Artistes en Exil, European Folk Day, news, open calls\u2026 #62"},"content":{"rendered":"

Summary\u00a0\ud83d\udc47<\/strong><\/span>\u00a0<\/span><\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Editorial<\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Talk with Imed Alibi, musician, composer and director of the music department at the Atelier des Artistes en Exil en France<\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Brief news from the media, charts and sister projects + announcement from Mundofon\u00edas \ud83d\uddde\ufe0f<\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Reminder: talk at Womex, “Reshaping the narrative” \u270d\ufe0f<\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Update:\u00a0European Folk Day\u00a0\ud83d\uddd3\ufe0f<\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Open calls and more news from professional events \ud83d\udcbc\u00a0<\/span><\/p>\n

\ud83d\udd38<\/span><\/span>Meet me at \u2708\ufe0f with spotlight on Festival “Kurdistan” in Elbphilarmonie Hamburg<\/span><\/p>\n

\n
\u27a1\ufe0f This is the link for subscription<\/a><\/span><\/div>\n
.<\/span><\/div>\n
<\/div>\n
\n\n\n\n
\"If<\/a><\/td>\nIf you like this content, forward it \u2b05\ufe0f<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n
\"Share<\/a><\/td>\nShare it in Linkedin<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n
\"Share<\/a><\/td>\nShare it in Twitter<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n
\"Share<\/a><\/td>\nShare it in FB<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
Hello, <\/strong>how are you?<\/strong><\/div>\n
\n

I am\u00a0well. This month is special. I will celebrate my birthday.\u00a0I have only one wish to ask: to have more wisdom to be able to go further with this whole music thing.I will expend that day returning from Plasencia (C\u00e1ceres province, in Extremadura region) after the concert by\u00a0Seiva<\/a>, the Portuguese trio with which I began to collaborate this year. The usual line up is two women and a man, but in this occasion the female percussionist had to be substituted.<\/p>\n

Apart from that, I am full of anticipation about the\u00a0MOST festival<\/a>\u00a0and the re-entry in general. This summer is being fantastic.\u00a0Ali Do\u011fan G\u00f6n\u00fclta\u015f<\/a>\u00a0is in France right now and today will be his\u00a0fourth concert out of 10<\/a>\u00a0that he is doing in Aubernia and Languedoc with his trio. Autumn is going to be fun for them as well. I explain a bit more below.<\/p>\n

Tomorrow\u00a0Vig\u00fcela<\/a>\u00a0will play in a festival that has been going on for 51 editions,\u00a0Cita Folk in J\u00f3dar<\/a>, in Andalusia. In the next Autumn they will start a new project to popularise a very unknown style of traditional music:\u00a0the son. I will give news shortly.<\/p>\n

Soon I will also be giving news of a new collaboration that has me full of anticipation, a collaboration that I hope will be a boost of motivation and outreach for both sides.\u00a0For now I will only say that it is a collaboration with someone from the other side of the Mediterranean\u00a0\ud83d\ude0d.<\/p>\n

I hope your summer is going wonderfully and the return to routine is uplifting! And that the content below is of your interest.<\/p>\n<\/div>\n

\n

Remember: if you have any news of interest for our community, let me know. Thank you very much for your attention.<\/strong><\/span><\/p>\n

Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n

\n

AND NOW THE FLOOR IS FOR: <\/span><\/strong>IMED ALIBI<\/span><\/strong><\/h1>\n
\n\n\n\n
While you read, listen to the his works,\u00a0here<\/a>\u00a0<\/strong><\/span>\ud83c\udfa7<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\n\n\n\n
“Due to war, racial, ethnic, sexual and gender discrimination, or religious, economic and political marginalization, every day many people are forced to leave their homeland. Amongst them, some are artists often involved in a continuous fight against the authorities of their countries. Since it is the duty of art to be the voice of the oppressed and to reveal the underlying issues in the society, the creative sector in Europe must be particularly mindful of the matter and provide\u00a0the infrastructures to better accommodate these artists. Artists must be able to continue to practice their art, not only as individuals, but also as custodians of their culture. It is through art that the culture of a people whose autonomy is threatened, will continue to live on.”\u00a0<\/em><\/p>\n

This strong statement is in the\u00a0About page of the L’atelier des artistes en exil<\/a>. The head of the music department is Imed Alibi.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

\n

<\/a>I\u00a0first heard about Imed Alibi in this interview\u00a0<\/strong>\u27a1\ufe0f\u00a0. Click on the picture to access it.\u00a0It was at the height of the pandemic. I highly recommend reading it. It is in Spanish but I’m sure you can translate it automatically into your language with sufficient results. I have not forgotten it.\u00a0It opened my mind to some ideas I hadn’t dealt with before.<\/strong><\/p>\n

At that time, May of 2020, I was involved in a series of conversations with colleagues from other countries in an attempt to create an informal network of people with similar concerns. I don’t know how, but I came across this interview with Imed.\u00a0It was explained that, shortly before the start of the pandemic, Imed had been appointed director of the highly relevant Carthage International Festival. The news had been widely celebrated by the new generation of local artists. Why? It sounded worthy of further reading…<\/p>\n

That edition of the festival was postponed and they had to opt for national artists, given the uncertainty about key issues that could affect them, such as international travel. In that interview, Imed said that the festival’s intention was not only to carry out a series of artistic activities but also to support the sector, which has been terribly affected by the coronavirus crisis. Later, he\u00a0added: “In my humble opinion, the Carthage shows should retain the emotion of live performance, because historically they have always been linked to the audience. It is the essence of the festival. And I sincerely doubt that it can be transformed into a digital version<\/em>“. I felt the same about many initiatives at that time.<\/p>\n

Despite this, we personally had a fantastic experience with Vig\u00fcela in an event commissioned by the International Labour Organization. We called it “Conciertajo”, a words game with concert + Tajo, that is both the river in the village of the band and a slang term for “work”. It was designed specifically for the digital medium, taking advantage of the options for interaction with the public. During some\u00a0weeks before, we\u00a0incorporated the public directly into the artistic creation. During the concert, we kept the talk with\u00a0them. The concert was the culmination of a lot of previous activities. But it is true that most of what was done was to put a camera and broadcasting.<\/p>\n

Back to Imed, he also said something that still resonates with me to this day, perhaps even more strongly: “As we know there are many very talented artists but they are not good communicators and in that case inequalities can be created if we don’t receive support or advice from specialists or record labels. And well, these are the difficulties faced by artists in our countries and I would even say in the world in general<\/em>.”<\/p>\n

The whole interview is very interesting.\u00a0Imed talks about the digital alternative and to what extent it was useful, about copyright in this area, about the conversations with the government to support artists, about the situation of artists in authoritarian regimes….<\/p>\n

I contacted Imed to invite him to the talks with colleagues but the initiative fizzled out as the challenges were pulling on all of us and we didn’t manage to meet up with him. But luckily I have been meeting him on a few occasions and discovering more interesting things. The last time we met was in Ostrava, for the Czech Music Crossroads, of which I already spoke in\u00a0the previous edition<\/a>.<\/p>\n

<\/p>\n

Portrait by Cedric Matet.<\/strong><\/p>\n

In Ostrava I learnt that he leads the department of music of the\u00a0Atelier des artistes in Exile<\/a>. That reminded me immediately about Alan Ibrahim and his organization Music For Identity, with whom I made a long and deep interview in\u00a0this previous edition<\/a>.<\/p>\n\n\n\n
Before reading the interview, it is useful to check out the website of the Atelier des artistes in Exile.\u00a0<\/strong>And the website of\u00a0I<\/a>med Alibi<\/a>.\u00a0<\/strong><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

And I said before, Imed is a musician himself. He is a percussionist and composer. This is a video from his <\/span>Youtube channel<\/a>: Imed Alibi Feat Kel Assouf et Natanael Ramos.<\/span><\/strong><\/p>\n<\/div>\n

\"\"<\/a><\/div>\n

This video is from a concert from last October, made in Tenerife, the island in Canarias, that is nowadays in the news because of the fire that has burnt 7% of the land. The festival is Naturajazz. The program for 2023 is not announced yet. I wonder if they will have strenght and resources to make it this year \ud83d\ude41<\/strong><\/p>\n

<\/div>\n

But back to Imed, it is time to share his insights:<\/span><\/strong><\/span><\/p>\n

\n
\n

Mapamundi M\u00fasica: For the interview, as your profile is so special, I will separate the questions in two parts:\u00a0<\/strong><\/span><\/p>\n

1. About your work as artistic director and artistic advisor of music festivals.<\/strong><\/span><\/p>\n

\ud83d\udd38MM: This newsletter is received by artists and managers from many places of the world. What can be useful for you? Are you interested in any specific profile of artists? Or, in other words, what do you search for in the artists with whom you could collaborate specifically for the advisory work you are doing currently?\u00a0<\/strong><\/span><\/p>\n<\/div>\n

Imed Alibi:<\/strong>\u00a0It’s always interesting having new profiles, new artists especially emerging ones, we never have enough information… newsletters can also remember us some artists we may forget especially nowadays we have a boom of projects… innovative ones captivate us.<\/p>\n

\n

\ud83d\udd38What is the best way to approach you? Or how do you find the artists that can be of your interest?\u00a0<\/strong><\/span><\/p>\n<\/div>\n

IA:\u00a0<\/strong>Music markets, one to one meeting, emails… I\u00a0also navigate and research on internet..<\/p>\n

\n

\ud83d\udd38MM: Have you identified any common mistakes or shortages that the artists\/managers do when approaching a person like you, who can be the decision maker in a festival or can have a strong influence on an artistic program?<\/strong><\/span><\/p>\n<\/div>\n

IA:<\/strong>\u00a0A festival or a venue can’t have so many artists per year, per session, it’s obvious, so no need to insist, sometimes it’s just embarrassing \ud83d\ude42<\/p>\n

\ud83d\udd38MM: You have a really huge experience and success both as an artist and as a cultural manager and you have collaborated with other referential artists. Which do you think is a key characteristic of the artists who succees?<\/strong><\/span><\/p>\n

IA:<\/strong>\u00a0Patience, focus on one project for several years, it takes time to build an identity and to continue a career.<\/p>\n

<\/div>\n
<\/a>2. About your work as responsible for the music department of the Atelier des artistes en exile in Paris.<\/span><\/strong>\ud83d\udd38MM: Over the last few months I have had various conversations about the situation of being a refugee or migrant artist. For example, in the conversation with Alan Ibrahim, from Music for Identity, where we also talked about the process of the Refa group, initially Refugees for Refugees. More recently, I was talking to a friend in Madrid about a Cuban musician who is making his way in the jazz scene and we thought that with his appearance (he is black), as soon as the people see him, a lot of preconceived ideas appear in people’s minds, whatever he does, he is going to be the black Cuban musician (here there is not as much diversity in the music scene as in other places).<\/strong><\/span>At the same time, we were talking with Alan about how using these concepts is also useful to sell or to open some doors, but in the end it can trap the person in a limiting concept.\u00a0What do you think about this and how do you deal with it from your atelier?<\/span><\/strong><\/div>\n

IA:<\/strong>\u00a0In France what we call ethnic music or world music is already putting musicians in boxes, the idea for us is to help artists to be really independent and continue their career in Europe in spite of the prejudices.<\/p>\n

\ud83d\udd38MM: I have seen the list of artists on your website. There are a lot of them. I imagine that many of them are refugees for political reasons, is that right? But not all of them, right? Some are for economic reasons or because they have left in search of better development opportunities?<\/strong><\/span><\/p>\n

IA:<\/strong>\u00a0Most of them are refugees for political reasons, others for sexual persecutions… Not economic.<\/p>\n

<\/div>\n
\ud83d\udd38MM: For those who want to listen to the atelier musicians, how can you do it?\u00a0<\/strong><\/span><\/div>\n

IA: <\/strong>https:\/\/aa-e.org\/fr\/<\/a> and https:\/\/www.youtube.com\/channel\/UCiguqu2MIScLiQTA9gLFHOw<\/a><\/p>\n

\n

Thank you, Imed!\u00a0<\/strong>\ud83d\ude4f<\/span><\/p>\n<\/div>\n

\n
\n<\/div>\n
<\/div>\n
\n

BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS\u00a0<\/span><\/strong><\/h1>\n
\n
\n<\/div>\n